Just happens that a the end of the timeline I have some cups..some are cutaways (B roll) some are things I like which have end up not on the Primary Storyline but which, through turn of events have become destined for Primary Storyline. And it's much more accurate to paste insert to playhead.

Match frame and reinsert I guess is the way to go...it is a bit of a workaround though is it not? is Paste Insert something that would not work in this software do you think?

By the way...back to an old thread you kindly contributed to I think...

I had a situation today that massively called out for "select all tracks forward" because it was a connected clip that I wanted to nudge back in the timeline and I wanted it to take everything else with it by the same number of frames.

I worked round it by nudging it six frames back and then closing the gap and remembering how many frames so I could close up the gap in the primary storyline by the same number of frames.

[James Ewart]"ust happens that a the end of the timeline I have some cups..some are cutaways (B roll) some are things I like which have end up not on the Primary Storyline but which, through turn of events have become destined for Primary Storyline. And it's much more accurate to paste insert to playhead."

If htey are at the end of the timeline and all connected clips, simply select them all and move them in to the primary by hitting command-option-down-arrow. You will now be able to paste insert with them.

[James Ewart]"Match frame and reinsert I guess is the way to go...it is a bit of a workaround though is it not? is Paste Insert something that would not work in this software do you think?"

It does work with clip already in the primary. I would send feedback to Apple to add the "paste connected clip in to primary".

[James Ewart]"I had a situation today that massively called out for "select all tracks forward" because it was a connected clip that I wanted to nudge back in the timeline and I wanted it to take everything else with it by the same number of frames."

Without a screen grab it's hard to ell what you are trying to do, but I would attach the connection point of the connected clip to the next clip to the right in the primary, select that Primary clip, shift select the last primary clip in the timeline, and nudge six frames. Changing the connection point is option-command-click.

You can also use the timeline index to select whatever clips you want. The timeline index is shift command 2

[James Ewart]"I occasionally pause for thought and wonder whether reinventing the wheel isn't a bit of a can of worms.

Will Adobe and Avid follow Apple or are we out on a limb here?"

I would not expect Avid or Adobe to make such a drastic change all at once, only apple could get away with it. The jury is still out for a lot of people if FCPX is going to work long term. Certainly the jury is in for some people and Apple was found guilty of NLE-slaughter.

Personally, I like enough of FCPX to stick around for a while. It works differently, but once you learn how the timeline "moves" and understand the connections, it becomes a lot more fluid and natural. It still needs work and refinement as it is very young.

I love no rendering delays and auditions but sometimes when I'm chugging away in the timeline I do crave tools like select all tracks forward without having to insert a gap and do a thing before I can do the thing I want to do.

Obviously it's not going to be as natural as FCP 7 became over ten years but then I look across to Adobe and think "Is FCPX actually a better tool than Premiere now"?

Does the World need a different NLE?

What have Apple achieved by being so radical?

Where are the updates I thought were coming in September?

Somebody said to me that when the people at Apple got wind of the Mercury Playback Engine they had no choice but to pursue their own unique Imovie style interface. I don't know if that's true but there are a lot of patents flying around for sure.

[James Ewart]"I love no rendering delays and auditions but sometimes when I'm chugging away in the timeline I do crave tools like select all tracks forward without having to insert a gap and do a thing before I can do the thing I want to do.

Obviously it's not going to be as natural as FCP 7 became over ten years but then I look across to Adobe and think "Is FCPX actually a better tool than Premiere now"?

Does the World need a different NLE?

What have Apple achieved by being so radical?

Where are the updates I thought were coming in September?

Somebody said to me that when the people at Apple got wind of the Mercury Playback Engine they had no choice but to pursue their own unique Imovie style interface. I don't know if that's true but there are a lot of patents flying around for sure."

There's been lots and lots of discussion about this over on the FCPX or Not: The Debate forum.

James, I'm 5 or 6 major projects into this X thing, and I don't even know how to insert a gap. Obviously there are other ways. Why are you finding reasons to insert a gap?

What has Apple achieved by being so radical? I think they achieved a couple things. They "accidentally" left the comparatively small pro market. Avid and Adobe completely fell for it and ran around with their heads cut off for a year thinking Apple blew it and the two of them fought over the small market that Apple had seemingly left to them. Turns out, everyone already had Premiere and Avid is losing money right and left. And now, X is much the choice of newbies, whether it be due to price, integration in the app store, or the easy learning curve from iMovie. Adobe and Avid just let Apple have those customers without a fight. And a year later X has grown up and is pretty capable. When any of those newbies decide to try premiere or Avid, they'll instantly find it so much clunkier feeling than when an X convert tries to go back to legacy.

The FCP-X debacle was just a little warm-up for the Google Maps/Apple Maps scenario they probably knew was coming too. :)

Well Gaps are a bit like mountains... it's "because they are there" I guess.

But seriously, Gaps really help me block things out...I know I'm going to need a little pause, a few cutaways with just some music and I find them a really useful way of blocking out my main stuff. Before I found Gaps I could not use FCPX at all. They really help with getting the pace right I find.

The way you sort of hacked it, is the way you should be doing it from the start in this case. Don't move all the connected clips 6 frames back, then adjust the underlying primary. JUST adjust the underlying primary. The only point of contention is where that first clip is connected.

Like Jeremy said, hard to understand exactly without a screenshot, but I found pretty early on that essentially, it's all TTTT all the time. From wherever you are in the timeline, everything to the right is always already connected. You want the whole timeline to the right to slide back 6 frames? Do a 1 sided roll on the primary at an applicable spot. You might have to adjust a connection point or two, or split a clip on the primary. But the same sort of workarounds occur in track based editing, and generally in X I just grab the clip on the primary and roll it back. Everything to the right comes along.

In the attached example see the yellow point that is going to be rolled. Everything to the right will move back, EXCEPT the top "layer" because it's connected behind the roll point. So I'd have to either split that layer (same sort of thing I'd have to do in 7 because TTTT selects everything to the right that has a CUT to the right) or move the connection point to some point ahead of the spot I'm working. (In 7 I'd have to cmd+select any clips that overlap the TTTT point.) Any NLE is going to have these sort of concessions. Avid does the same thing completely differently and you'd have to learn it's behavior rules. But when you don't have to do any connection point maintenance, X's method really is less destructive and quicker. In the image attached, I even broke open the audio on the clip so only the video rolls back. Then I can tweak the audio point after. But anytime to take an entire chunk of timeline and move it 6 frames, you should expect to have to do a little fine surgery somewhere.

I "thought" was trying that..didn't work before. Pilot error. Incidentally if I select those four connected clip and cmd - G them into a storyline it does not seem possible to move the connectors...me being silly again?

In this case, because you've gone the GAP route, I'd connect it to the gap clip, then do a one sided roll on the gap clip, achieving the same thing that jeremy said, but without destroying any of the cop that has audio.

Everyone does things differently. Why so many gap clips? I realize you're probably keeping the brill separate from the on camera clips, but in this instance I think I might go ahead and put it all in the primary. Seems like you've got stuff on the primary, then you shift over to the secondary, then back to the primary, etc. For example, if the broll we're discussing was already in the primary, you'd simply be rolling the video of the incoming or outgoing clip. 101 ripple editing. IOW It looks like you're doing AB roll editing on two tracks, when 1 track is already capable of AB roll editing unto itself.

If you really need the visual simplicity of the TTTT method, you can always zoom out (shift+Z) marquee select everything you need, then use the P tool to move it all with mouse, keyboard shortcuts, or numeric values. But here's the rub with that. If you have secondaries, it selects the clips in the secondaries and you can't move anything. You have to deselect the clips within the secondaries and cmd select the secondaries themselves, then you can drag the chunk with the P tool just like the good old days.

Having clips separate in the timeline is tried and tested..my guess is that possibly Apple understood this and that's why they gave us gaps. Keeping cutaways (B roll) on other tracks makes it easier to see where everything is.

In 7 I would, as default use four or five video tracks and (A roll or B roll) keep it all "checker boarded"...easier to actually "see" what's there that way.

if I have all B roll on other "layers" then nothing below it is gone and I can tickle it forwards or backwards without having destroyed anything in the timeline underneath it.

Plus with this timeline I'll be trying out more stuff on higher tracks but my go back to how it was...Auditions cannot replace this useful though it can be.

Plus pauses are powerful, and you need a gap for a pause.

For this timeline I had about 10 main bits of interview. first thing I did was drop them all in the timeline with Position tool and then figured out the basic structure of what goes where. Without so many gaps this process would be awfully claustrophobic for me. And then build if from there.

You're right. I do generally work that way in 7. But in 7 all tracks are equal. In X, putting the broll on a secondary isn't the same thing as putting it on a second track for organization. In 7 it would have no relation to anything and track 1 could move freely from track 2. In X you can use the P tool to move them freely in some ways, but it's different for sure. So in some cases if it's a linear progression like what your X sequence looked like, it might have been easier all on the primary. Just depends.

Auditions BTW, they just crash the hell out of my system. That's the only time I get lockups or beach balls. Going through auditions. I don't find them too useful. Turning on and off clips with V is more visual for me. I don't like auditions changing the length of my timeline either. Not for me.